The translation of art into revolution: Visual text, auditory art and the subversive role of the art poet across the cultures

Rock music parallels Pre-Raphaelitism, not Romanticism as previously categorized by many theorists. This dissertation examines the connection between these two movements which changed the nature of art and society. It explores social, economic and political contexts and establishes how art forms declare reality when such movements overturn the prevailing ideas of art. Chapter One, The Revolution Begins, establishes (in four separate sections) the aims of the Pre-Raphaelite Brotherhood within a Victorian context. Section I looks at the conditions of Victorian living. Section II addresses Mikhail Bakhtin\u27s notion of Carnival and how a war can be waged against the establishment. Section III looks at methods of artistic subversion while Section IV examines the Pre-Raphaelites\u27 role in the development of media arts. Chapter Two, The Revolution Continues, contains five separate sections which explore the Pre-Raphaelite/Rock Music connection. Section I shows that rock more strongly parallels Pre-Raphaelitism rather than Romanticism Section II makes cultural connections while Section III discusses political parallels. Section IV examines economics levels and Section V discusses art as a negation of oppressive structures. Chapter Three, The Revolution Lives, divides into four sections and draws parallels between Dante Gabriel Rossetti and James Douglas Morrison. A discussion of the concept of Woman as Muse occurs in Section I. Section II addresses the parallel lives of each. Section III shows each man as catalyst for social change while Section IV examines these changes. Chapter Four, The Revolution Lives addresses in the three sections the modern version of Pre-Raphaelitism--film. Section I discusses Fredric Jameson\u27s notion that the only way to \u27think the visual\u27 is to grasp its historical coming into being. Section II examines this history all the way from consciousness to film. Lastly, Section III examines how film becomes a form of revolutionary poetry via Oliver Stone\u27s use of Jim Morrison\u27s poetry to develop the visuals for his film The Doors. Lastly, an Epilogue speculates on the efforts of reformers like Rossetti, Morrison and Stone who cause us to rethink the place of art in history and how poetry shapes cultural development